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The Jewish Museum and Tolerance Centre in Moscow Le Musée Juif Et Le Centre Pour La Tolérance De Moscou Het Joodse Museum En Centrum Voor Tolerantie in Moskou

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The Jewish Museum and Tolerance Centre in Moscow Le Musée Juif Et Le Centre Pour La Tolérance De Moscou Het Joodse Museum En Centrum Voor Tolerantie in Moskou Témoigner. Entre histoire et mémoire Revue pluridisciplinaire de la Fondation Auschwitz 118 | 2014 Au nom des victimes. Dictature et terreur d'État en Argentine, Chili et Uruguay The Jewish Museum and Tolerance Centre in Moscow Le musée juif et le centre pour la tolérance de Moscou Het Joodse Museum en Centrum voor Tolerantie in Moskou Ewa Bérard Electronic version URL: http://journals.openedition.org/temoigner/1226 DOI: 10.4000/temoigner.1226 ISSN: 2506-6390 Publisher: Éditions du Centre d'études et de documentation Mémoire d'Auschwitz, Éditions Kimé Printed version Date of publication: 1 October 2014 Number of pages: 12-15 ISBN: 978-2-84174-674-3 ISSN: 2031-4183 Electronic reference Ewa Bérard, « The Jewish Museum and Tolerance Centre in Moscow », Témoigner. Entre histoire et mémoire [Online], 118 | 2014, Online since 01 October 2015, connection on 23 October 2020. URL : http://journals.openedition.org/temoigner/1226 ; DOI : https://doi.org/10.4000/temoigner.1226 Tous droits réservés Kroniek Logbook without contest, is the virtual scroll of THE JEWISH MUSEUM the Torah that unfolds at the desired speed from the pressure of an electro- AND TOLERANCE CENTRE nic stick. How was the history of the Jews IN MOSCOW in the empire (1775-1917), then in the USSR (1918-1991) conceived? It was necessary to find a consensual ver- sion of this tortuous past, and also, to VISIT Created at the initiative of Dov-Ber-Pinhos Berez Lazar, Chief Rabbi of Russia respect the ideological imperatives. since 1999, the Jewish Museum in Moscow opened its doors in November 2012. The first director of the Museum and The inauguration took place in the presence of the president of Israel, Shimon Peres, of the Centre, Nathalie Fichman, was and the Minister of Foreign Affairs of Russia, Sergei Lavrov. clear. Indeed, the Museum’s voca- tion was not to bear witness to “the Soviet anti-Semitism” (sic): “We will not shed tears for ourselves. It is not about exposing our offences; it is he Museum was established through pri- fixed on both sides of the wall provide more detailed about showing how we lived, how our vate funding, subsidies from the Russian information. country’s history shaped us and how government and from the Federation of the The Museum’s ambition is to go beyond the tradi- we shaped its history.” Jewish communities of Russia, an inheritor of tional “museum” aspect and to arouse interest in its The timeline leads to a map of the Bérard © Ewa THabad, an ancient Hasidic movement that prospered technological performance, “unique in Russia”, we “zone of residence” and the Kingdom _ Inside the museum. on the eastern stairs of the Russian empire. President are told. It aims to be a place of distraction, capable of of Poland (although at the time of the census, it was Putin gave one month of his salary to the funds of the attracting young people. The conception of the design only called the “Vistula Country”), which shows the Museum. was therefore trusted to Ralf Appelbaum’s American percentage of Jews among the population and the time and to follow, with headphones and a small screen, Whilst Moscow is disfigured by turgid and monu- agency, known for its realization of the Holocaust intensity of the pogroms. The sequence dedicated to the biographies of remarkable men. mental constructions, the building of the Museum (a Museum in Washington. Visitors only encounter the 18th century is very clear on the Polish origin of The following section is entitled “War and Revolu- former bus depot on the Bakhmetev street) protected screens during the tour: big, small, medium-sized, most Russian Jews, annexed in virtue of the divisions tion, 1914-1921, 1921-1941”. On the big screen the docu- its silhouette. Conceived by Konstantin Melnikov and flat, curved, at times interactive, at other times in 3D, in Poland, and on their culture inherited from the mentaries on the acts of violence committed by the Vladimir Shukhov in 1926-1927, this jewel of Construc- accompanied by written or audio legends. Artefacts are Commonwealth of Poland (even though it was kept German army, the scene of the revolutions of February tivism placed at the heart of the old Jewish neighbour- relegated to the space dedicated to temporary exhibi- quiet that Polish Jews enjoyed the security of people, and October 1917, the civil war and the pogroms “more hood Marina Rochtcha, was placed, in 1997, on the list tions, at the periphery of the three circles. What makes service and commerce). cruel than the pogroms of Khmelnitsky” (but the pro- of monuments to be privatized and given by the town this universe of screens completely surrealist, are the The section “Towns and beyond. 1795-1913” opens grammatic anti-Semitism of the Whites is erased) are to the community Centre, whose president at the time poet Iossif Brodski’s words, engraved above… the onto a large photo of an urban artery, a slightly sur- projected. Difficult questions are raised: the “zone of was the oligarch Roman Abramovitch. It was indeed Museum boutique: “The objects that we produce with prising symbol of life as a Jew in the 19th century, yet residence” is finally abolished, Jews obtain civil rights. very close to being disfigured, but the intervention of our hands say more about us than our confessions.” which immediately presents the central thesis: urba- They owe everything to the revolution, and the stereo- public and professional opinions allowed the damage Admittedly, we won’t find any more “confessions” than nization, assimilation, social ascent. We see an “instal- types are tenacious which present them as profiting to be limited. “products made with our hands” here. Craft workers lation” with coffee tables and the same white plaster from the revolution, clever to quickly rise up to the The exhibition space is organized according to a and people of the Book are no longer. They have been figures which are supposed to embody Simon Doubnov, governing bodies of the Bolshevik apparatus and to its circular plan. A centre with a double core is surroun- erased before a virtual people. Sholem Aleikhem and a few other personalities from organs of terror. On the screen, the voice of a specialist ded by walls forming two concentric circles: the “great The “shtetl” space is in this regard exemplary. urban Jewish culture. On the wall, a “Chronicle of the from across the Atlantic explains that with the seizure Jewish cosmos” – cradle of Judaism, ancient Hebrews Indeed, visitors are here invited to dress up in virtual events” proposes themes such as Haskalah (Jewish of power by the Bolsheviks, the Jews “were faced with and the first Diaspora – and a “small cosmos” – the traditional Jewish costumes, to touch virtual herrings Lights), Jewish press, cultural awakening, assimilation, the difficult dilemma: to adapt or to disappear”. We Shtetl. Upon the wall that surrounds them are projec- floating in real barrels, to recognize their ancestors pogroms, emigration, political branches, new religious wonder what choice was offered to the other peoples in ted photos illustrating the “living Judaism”, its rites among plaster figures, like the one who is sat on a tendencies, etc. For he who is taken aback in front of so the USSR… In the same way as other believers, Jews, as and its precepts. A second wall, further removed from bench at a synagogue, immersed in the reading of the much information (although the famous anti-Semitic we are told, were summoned to abandon their religious the centre, creates with the first wall a hallway where Book, their head covered with the Tallit (inexplicably hoax, The Protocols of the Elders of Zion, could have practices though, thanks to their level of higher educa- a timeline is organized. At the back, large rooms are forgotten, this old Jew in plaster is not interactive found its place), a lucky find (still virtual) entitled tion, they quickly achieved their social ascent, namely each reserved to a different historical period. Parapets and does not swing from side to side). The best find, “Jewish destinies” allows one to enter into individual within the new intellectual and professional elite. l l l 12 Getuigen tussen geschiedenis en herinnering – nr. 118 / September 2014 Testimony between history and memory – n°118 / September 2014 13 Kroniek Logbook l l l We begin to grasp the function of the big screen occupier. The Jewish Anti-Fascist Committee (JAC), As we progress further toward the present day, the which each section is equipped with: it must, whatever created in 1942, is present yet without mentioning its past is reduced to anecdotes. To talk about the Soviet the cost, inscribe Jewish history within Russian gene- worldwide vocation nor the assassination, ordered by Jews of the 1960s, 1970s and 1980s, there is no map of ralities, erase the conflicts, sever all urge to shed tears Stalin, of its two initiators, Henryk Erlich and Victor the emigration, no mention of the cultural production, or to feel proud – except when it is legitimate for the Adler, Polish Jews. The visitors can see the cover of the no trace of the samizdat, not to mention, of course, the great people of the USSR. A coffee table in the shape of famous Black Book with the names of both authors, State repression and anti-Semitism. There are only a five pointed star embodies this young Soviet nation; Ehrenbourg and Grossman, yet its origin (it is Albert two screens. The first one, in 3D, presents a Muscovite on its interactive surface, as if lost in space, portraits Einstein, in the name of the Committee of Jewish Ame- apartment where two young people are exchanging of Jewish personalities evolve: when it is at the level of rican artists, writers and scientists, who proposed to Jewish jokes on their own people as a young woman the visitor, we can press it and the personality’s short the JAC to publish a book on the fate of the Jews in lifts from a box gifts sent by parents settled in the US.
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